Search:room 10

Silent Treatment was the third studio album from Arizona hardcore / punk band The Bled, their second released via Vagrant Records.

The band’s guitarist Jeremy Ray Talley recently commented on their time with Vagrant, speaking with Kerrang Magazine: “We signed to Vagrant because it was a label with a great reputation of taking care of their bands and helping them get to the next level, without having to compromise artistic vision,”

Sometimes a band grows so exponentially from one record to the next, it’s almost jarring. Hell Fire has already established themselves as the preeminent masters of a new hybrid breed of Bay Area thrash and NWOBHM in just a few short years, but their fourth album Reckoning is the type of ascendance that truly sets a band apart.

Reckoning is their Master of Puppets, their Number of The Beast, their Defenders Of The Faith. From the very first notes of the album opening title track, you can feel a vital new energy and inspiration to their music. To say Hell Fire used the recent global downtime to dig within and fully refine their sound would be an understatement. It truly is a reckoning.

“This album is every aspect of our band amplified to its maximum potential,” says singer/guitarist Jake Nunn. “This is the record we've always wanted to make, and it feels like we're just getting started,” guitarist Tony Campos adds. “We wanted to push ourselves musically and capture some of our frustrations, anger, loneliness, and rage over being locked inside and dealing with life during a global pandemic in the days when no one really knew how to navigate,” says drummer Mike Smith.

With no touring on the horizon in 2020, the band hunkered down and recorded nearly a full album in preproduction home demos. “I set up a little studio in my garage to record guitar, bass, and vocal tracks,” Campos says. “While Mike bought an electronic drum set and we demoed every song so we were more prepared going into the studio.” Each of them found themselves practicing more on their own and ironing out every last detail and nuance before finally being able to once again play in a room together.

The band’s heightened professionalism also brings in guest bassist Matt Freeman (of Rancid and Operation Ivy fame) on the album after original bassist Herman Bandala departed the band amicably during the initial writing process. New bassist Kai Sun joined Hell Fire in Fall 2021. Reckoning was recorded and mixed at Atomic Studios in Oakland, CA with Chris Dugan.

The title track kicks things off with a slight nod to the layered melodies of acoustic and harmonized guitars of Metallica’s “Battery” before the band rips into its signature galloping guitar picks, soaring harmonies and blistering rhythms. It’s an anthem and a gauntlet thrown down with Nunn’s shimmering screams and guttural howls while dueling guitar solos and Smith’s relentless double bass drum shuffle bring home the point that Hell Fire is born anew. “Medieval Cowboys” hearkens to the epic attack of Iron Maiden’s Powerslave with glistening melodies and complexly interwoven musical shifts that showcase exactly how tight and precise the band has become. “Addicted To Violence” is blistering thrash and “Thrill Of The Chase” soars with rich harmonies while both songs lyrically reflect hard truths the band faced in isolation. The lush acoustic based ballad “A Dying Moon” shows the band effortlessly stretching out in new directions. “It Ends Tonight” is an epic anthem served as a mission statement to the band’s return wherein arpeggiated riffs, squealing pinch harmonics, group chant vocals and Smith’s octopus-armed beats will have legions raising their fists in the air in salute.

“It’s somehow the heaviest and most melodic work we’ve done, and I’m proud of the discipline it took,” Nunn says. “It’s a wild thing.”

Jeder Song hat die Kraft, Erinnerungen wachzurufen und das Gefühl von Heimat durch Musik nutzbar zu machen: von der psychedelisch-funklastigen Single 'Something's Going On' bis zur kongregativen Energie des neuen Tracks 'We Give Thanks' verschmilzt 'Could We Be More' die Afro-Londoner Synergie, die so natürlich die Wärme und Identität von Kokoroko untermauert. Die Mehrfach-Preisträger Kokoroko sind auf soulige, bläserlastige Sounds mit westafrikanischen Wurzeln und Londoner Einflüssen spezialisiert. Sie spielten bereits auf vielen europäischen Festivals (von Glastonbury über Meltdown bis Elbjazz und Jazz á la Villette) und freuen sich darauf, ihre Reichweite in 2022 und darüber hinaus weiter auszubauen. Die Band trat in mehreren BBC-Fernsehshows auf, ihre beiden Boiler Room-Sets wurden zusammen fast eine halbe Million Mal angehört.

- 'This female-led, multicultural collective of under 30s is a vital example of not only jazz's new form but the shape of things to come.' - The Guardian
- 'Drawing influence from West African highlife and jazz, wellmarinated in enough polyrhythm seasoning to induce fires on the dance floors they play.' - OkayAfrica
- 'Afrobeat, jazz, soul and ’70s psych-leaning funk - luminescent!' - Cool Hunting

Like meeting an old friend again, Dalmata Daniel welcomes DJ Overdose back to their catalog. Six years ago the infamous Dutchman's '05 Poly 800 Loop' EP was released, which served as a powerful launch to Dalmata Daniel, opening the first chapter in their story. Later in 2019, a split release with Sematic4 was also a highlight in the life of the label; and now, 3 years later, DJ Overdose checks in with the 'Powers of Ten EP' with a J. Mono remix, available both in digital and vinyl format, the latter having 2 bonus tracks.

The distinct, crunchy sound of DJ Overdose, bearing aspects of old school hip-hop-infused sampling and contemporary analog vibes creates the perfect blend of both worlds. 'Garden of Lust' opens up the adventure with a combo of warm basslines and solid drum-programming. This initial track feeds us these cardinal elements as the bread and butter they are: subtle variations and fine spices do appear here and there as the track goes along, but the key, beating pulse in 'Garden of Lust' brings massive hits stable as a sledgehammer in the hands of a blacksmith.

'Feed The Beats' elevates the game to cinematic territories: its majestic string-like central melody makes me alert and ablaze, making me feel like I'm in a late 80s L.A. setting facing malevolent zombie-aliens in my Wayfarer shades. Blasting beats and Carpenterian coolness all over the place, while the spooky bassline just keeps sneaking up on me endlessly.

If you are wondering when's the best time of the year to bring out your boombox at last, then this is your lucky day: with 'BOB', the first bonus track on the vinyl, we can experience some roarin' bassdrums, snappy snares, MCs with the speed of light and all that jazz. The low-bit sampling and vinyl scratching come and kick you right in the face so hard that it becomes pretty obvious you'll can't help but start some serious beatbox battles in your bathtub with your rubber duck.

A feverish groove in the prime time of a funky bash, in the haze of a sensual rave-up: that's all one really wants when going for a Saturday night out. We definitely get this and much more from 'Room 714', another vinyl-only bonus track. A berserk voice and ethereal chords guide us through this mysterious track, but while we are busy trying to impress our crushes on the dance floor, things around us are slowly getting very, very freaky, maybe a bit way too freaky.

As wobbly and jolly as it gets, our Dutch friend ends his session with 'Ðr ¡v€ M€ ¢r@z¥', a vocoder-heavy disco banger, full of merry vocal FX and smart rhythmic glitches as he completes his flight. To close the EP, our local hero, J. Mono delivers an insane remix of 'Ðr ¡v€ M€ ¢r@z¥': one can clearly imagine how he grabs and turns the BPM knob all the way up, fires up some arpeggios on his mighty synths and casts a complete reimagination of the original track.

LIMITED EDITION DIRTY WHITE VINYL REMASTER.
FIRST TIME AVAILABLE ON VINYL FOR 15 YEARS. 300 COPIES.

17th anniversary remaster. New sleeve artwork with photos by Steve Gullick and pressed on dirty white vinyl.
Ladybird ... one perfect heavy as fuck hypnotic riff played over and over and over and over across 2 sides of an LP.
Back when Shit And Shine formed, the idea was basically to sound like their heroes DRUNKS WITH GUNS and STRANGULATED BEATOFFS, using that same basic formula. A big dumb ass catchy riff played over and over until the joke gets old ... then keep going.
Recorded live at Southern Studios, London (fun fact: the same room where BAUHAUS recorded 'Bela Lugosi's Dead'!) in 2004 with just two basses, a snare drum, a huge cardboard box and a tiny toy Casio sa-1 keyboard (using the "airplane" sound hitting the same key over and over for 41 minutes)
Some still say it's the best thing shit and shine has ever done. I'm not arguing.
Originally released on CD, and super limited vinyl waaay back in 2005. This was Shit And Shine's second release and it sold out REAL quick.
Remastered and beefed the hell up by Craig Clouse at Shit And Shine Ranch 2022.
Don't sleep on it.

Samy Ponsar aka War has been a firm favourite and valued member of the Utopia family, so it was only a matter of time until his first solo body of work for them would surface. It also happens to be the first dubstep / 140 bpm offering from the label, completely taking things away from the drum & bass things for a beat.

An ice-cold body of work showcases Sam's impressive and continuously growing dexterity both in the idea and engineering spheres alike. The EP is laden with his well-known style and distinctive approach to writing music. As the artist harnesses room-shaking low end frequencies and bone breaking beats, we're invited on a trip filled with jazz and noir soundscapes between 110 and 140 bpm, served on a solid White 10” with full colour sleeve designed by War himself.

Are you still here? Or are you still there? Berlin-based/Italian warehouse-rave warrior, Younger Than Me, and Italo-American romantic goth-wave prince, Curses are THERE. They're there where it's at!

It was the bond of bold friendship that brought these guys together - and of course a shared history of subgenre juxtaposition and meshing. Both grew up on Punk, Rap, and of course the early days of Techno. »Still There« is their first EP together and thus of course their first for Live At Robert Johnson. It's a venture into the euphoric, psychedelic power of early Trance and Breaks mixed with the attitude and energy of EBM and Electro.

Starting with the moody slow beats of the title tune »Still There«, Y2C takes you on a journey to a faraway chill-out room in some dark yet warm and cozy cellar. Or is this place to be found in synth heaven? It could well be if you listen to those dreamy melodies. Melodies as beguiling as the song of the Sirens that seduced good old Ulysses.

Y2C pick up on that dreamy vibe but throw in that slight and subtle Trance-factor, taking up speed with »Romantic Squat«, dragging you into their very own romantic squat.

Next up is »Love Your Enemy« - oh yes, shouldn't we all? Icey claps with lots of reverb and a bass line draw you onto the dry ice flooded aluminum floor and there's no way back - especially when that strange break with that crazy sound makes you stop for a second and think, why did I stop dancing? Get back on the floor y'all!

The last track »Lullapaluza« is indeed some kind of a lollapalooza ride, a very special ride. And no, it does not lull you to sleep because the beat created by Y2C here is a demanding one, a special which gets you going all over its eight and a half minutes. It's sheer bliss, you gotta believe it.

This is not a one-off novelty EP, it's a kinetic collaboration. Y2C is a force of nature, a force of RAVE/WAVE energy, with many more to come, a force to reckon with.

During the last four years, MentPlus has released a string of sold-out 45s, cassettes and digi-singles including Stormy Nights EP and LP, A Spoonful EP, "Cali Summers"(feat. Planet Asia), and "King of Kings"(feat. Blu) to name a few. He's been featured in URB, OkayPlayer, DJ Booth, 2DopeBoyz and many more.

incl. mp3
A deepening sense of life, love, health, loss, and luck shaped the outlines of Tuttle’s fifth, and most collaborative album to date. Following a surprising exhilaration and exhaustion from the hitherto most innocuous of moments in mid-2020 - a half-hour drive to collect an online order, the furthest distance he’d traveled in months; Tuttle commenced working on new musical ideas loosely based around navigating the aftermaths and interregnums of a restless era. “I was thinking about what’s going on in the world and how localised it has become for so many of my friends in different places,” Tuttle explains. “Not in a negative way but more so focusing on how lovely it is when things are good.”
Thinking of musician friends and peers around the world – each confined to their own immediate surroundings – Tuttle’s generative and collaborative musical practice became a silvery through-line, connecting American innovators Steve Gunn, Chuck Johnson, Luke Schneider and Michael A. Muller (Balmorhea), to French/Swedish violinist Aurelie Ferriere and Spanish guitarist Conrado Isasa, back to Australian friends such as Voltfruit (aka Flora Wong and Luke Cuerel) and Darren Cross (Gerling) – among many others – each fitting seamlessly into Tuttle’s vibrant musical world.
Whilst previously a feature of Tuttle’s music, the exploration of space and texture found within Fleeting Adventure feels particularly vast and generous. The involvement of Chuck Johnson and Lawrence English mixing and mastering the album respectively, as with their work on Tuttle’s previous and breakthrough album Alexandra (Room40, 2020), inspired Andrew to develop songs that are as serene and patient as he’s ever sounded. Stripping elements back, the idea of pulling the songs apart somewhat, was just as important as adding the work of Andrew’s collaborators. “It is spacious through intent, process and assistance,” he confirms. "I thought carefully about what instruments - both what I played and what I asked others to provide based on my unadorned banjo track - would best work with what I was wanting to create.”
The road to Fleeting Adventure has been both long and short, but it sits as a tender and perhaps even vital reflection of an era in progress, in retrospect and in anticipation. A poignant contemplation on the many bonds that make up our lives from friends and family to the myriad places we inhabit and pass through along the way. The idea that an adventure doesn’t necessarily have to be a grand statement Andrew Tuttle has gathered up a number of his contemporaries and crafted something quietly spectacular, a new beginning to familiar habits.

“Tuttle’s plaintive banjo is encircled by an array of majestic sounds: serpentine electric guitar from Steve Gunn, enveloping electronics courtesy of Balmorhea’s Michael A Muller, violin swirls from Aurelie Ferriere , and the gentle saxophone of Joe Saxby. The result is a lush and unabashedly beautiful sonic landscape.’’ 8/10 UNCUT LEAD REVIEW
Andrew Tuttle's new single New Breakfast Habit is the perfect sonic condiment for the most important meal of the day. A banjo flecked ambient/cosmic journey with a psychedelic video courtesy of Matmos
His new album 'Fleeting Adventure' is the soundtrack of the world re-emerging and getting a release on Basin Rock (Julie Byrne, Aoife Nessa Frances, Johanna Samuels) this summer.

Das teuflische Meisterwerk aus dem Jahr 2015 wird in limitierter Auflage auf transparentem orange/schwarz marmoriertem Vinyl neu aufgelegt!



"Instinctus Bestialis", das zehnte Studioalbum der Black Metal-Ikonen GORGOROTH, wurde von Schlagzeuger Thomas Asklund im Monolith Studio aufgenommen und abgemischt, von Infernus & Asklund produziert und von M. Lindfors, Infernus und Asklund im Cutting Room / Schweden gemastert.

Es enthält Gastauftritte an der Leadgitarre von Chris Cannella, Fabio Sperandio und Henrik Ekeroth, während das Aufnahme-Line-up aus Infernus, Asklund (ex-DISSECTION), Bøddel (Frank Watkins, ex-OBITUARY) und Atterigner besteht.

: Thou have a bit of a reputation for doing Nirvana covers, even releasing of a full album of them titled Blessings of the Highest Order during the height of quarantine. The infamously ravenous Thou fans were stuck in their rooms, drinking every drop and begging for more and just their luck the band decided to release a full-length compilation of their non-Nirvana covers they recorded and released from 2009-2022.

All of the songs on A Primer of Holy Words appeared on limited pressings of various split EPs and benefit compilations. The range of bands being covered is wide: Pearl Jam and Alice in Chains from abandoned tribute projects; Born Against from a small press

: Thou have a bit of a reputation for doing Nirvana covers, even releasing of a full album of them titled Blessings of the Highest Order during the height of quarantine. The infamously ravenous Thou fans were stuck in their rooms, drinking every drop and begging for more and just their luck the band decided to release a full-length compilation of their non-Nirvana covers they recorded and released from 2009-2022.

All of the songs on A Primer of Holy Words appeared on limited pressings of various split EPs and benefit compilations. The range of bands being covered is wide: Pearl Jam and Alice in Chains from abandoned tribute projects; Born Against from a small press

2LP Gatefold (featuring liner notes). Limited Edition. Artwork by Meeuw.

A collection of personal recordings made on various synthesisers between 1989 and 2017, by Telesoniek Atelier. Huge Tip on this one!

Early feedback:

"Fascinating improvs. I loved 'Gruesse'. " Suzanne Ciani (Atmospheric)

"Beautiful music with real subtlety and depth” Anthony Child (Surgeon, Transcendence Orchestra)

"Lovely, pure synth music." Mark Pritchard (Warp Records)

"Chateuroux is mighty... A proper zoner. Flung on earth." John T. Gast

"This is a great release by Telesoniek Atelier - a musician unknown to me before now. I've been thoroughly enjoying playing this double vinyl release since i got it. Both discs are filled with amazing music that moves between abstract electronic experiments to melodic, DMT bent sounding, classical contemporary music and futuristic soundtracks from non-existing Sci Fi movies you'll wish you could see. It time-warps you from here to there then freezes the moment. It all sounds like its been taken straight from the ancient room .. you know, that one where the spirits of the great teachers live. This is very focused, unpretentious and highly emotive music . A wonderful and dreamy sound garden coming from what I imagine to be a beautiful mind . These discs will be camping out on my turntables for a while."
Tako Reyenga (Music From Memory)

"A deep sense of the symphonic permeates this record. While synthesizers form the basis of its sound, Hans Kulk shapes their timbre into uncanny acoustics and weaves them together like an orchestra. Just when you think you have understood what is happening, another layer reveals itself. Yet it keeps a floating sense of lightness throughout. A truly rewarding listening experience."
Hainbach

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave

Das Album The Silver Lining von Soul Asylum aus dem Jahr 2006 wird zum ersten Mal auf Vinyl wieder veröffentlicht! Es war das letzte Album mit dem Bassisten Karl Mueller, der tragischerweise vor der Fertigstellung des Albums an Krebs verstarb. Es ist auch das erste, auf dem Michael Bland am Schlagzeug zu hören ist. Die Doppel-LP wurde von John Fields produziert und von Justin Perkins bei Mystery Room Mastering für Vinyl gemastert. Sie enthält bedruckte Hüllen und eine Klappverpackung sowie den Hidden Track "Fearless Leader". Das Album wurde weithin als eine Rückkehr zur Topform für die langjährige Rockband aus Minneapolis angesehen, die in den 90er Jahren mit Grave Dancer's Union und Let Your Dim Light Shine kommerziellen Erfolg hatte, nachdem sie in den 80er Jahren im Untergrund Anerkennung gefunden hatte.

Format: Ltd. Schwarzes Vinyl 140 Gr. 2LP mit bedruckter Hülle in Gatefold-Verpackung.

FP030F pressed in half black half purple vinyl 500 copies hand-numbered. FP030G pressed in black with red splatter vinyl 500 copies hand-numbered. A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan.

Anyone who knows Duke's music, will immediately smile at the first few
seconds of the opening track "Here I'm Is" from the new album 'They
Called It Rhythm & Blues', available on 180g black vinyl from Stony Plain
Records
It's that joyous jump-blues shuffle sound that Duke has been perfecting since the
late 60s. Indeed, every song on this album is about the groove, master
musicianship, great understated taste and a perfect band mix that always
complements the pulse and the singer. Duke's guitar is at the center and brings it
all together.For a lifetime Duke Robillard has been playing the jazzy corners of the
blues. He was a founder of Roomful of Blues in the early 1970s, and replaced
Jimmy Vaughan in the Fabulous Thunderbirds in the 1990s and was a core
member of the New Guitar Summit through the 2000s, in addition to releasing an
astounding 37 albums on his own. He has won the W.C. Handy Award as Best
Blues Guitarist an astounding four times, and been nominated for two Best Blues
Album Grammy Awards. He is credited with taking the blues to a new level for
multiple generations of blues guitarists

MARIUSZ DUDA (RIVERSIDE / LUNATIC SOUL) - INTERIOR DRAWINGS
PRESENTED FOR THE FIRST TIME ON VINYL.In 2020, Polish multiinstrumentalist Mariusz Duda (Riverside, Lunatic Soul) decided to
conduct an experiment
He set out to create a third music world, independent of his band 'Riverside' &
project Lunatic Soul. A world which would differ stylistically from the previous
two & underline his first steps in music. 30 years ago, a certain shy boy
fascinated by the works of Jean Michel Jarre, Vangelis, or Tangerine Dream,
locked himself up in his room & started to think up his original music stories. He
recorded them on cassette tapes, created covers for them & arranged them on
the shelf next to those of his masters. 30 years later, when the world was taken
over by a pandemic & an international lockdown, Mariusz was beamed back to
his childhood bedroom, reading & drawing comic books, playing games, listening
to lots of music from cassette tapes... & recording his own electronic sounds.
"Why not do it again?" He thought to himself, feeling inspired. "Why not create a
new project where I will play only the keyboards? And why not sing it just like I
used to when I was a kid ? Simply 'Mariusz Duda'". And that's exactly what he did.
Between 2020 & 2021, he recorded & released online three electronic albums that
make up the so called "Lockdown Trilogy".
The final of the three albums, 'Interior Drawings', is the first to get the vinyl
treatment. The album comes packaged in a gatefold sleeve & pressed on 140g
black vinyl.